The apocalypse isn’t a gloriously massive event, although that’s what we would like to think, with colossal tidal waves, mountains collapsing into valleys, cities vanishing into dust, the wicked witch waving her squadrons of monkeys over all. 

It’s more of the hiding in a wooden teepee without walls (Lars von Trier’s Melancholia), a face buried in the dirt (Terence Malick’s The Thin Red Line) or the burning of a solitary house (Andrei Tarkovsky’s The Sacrifice).

No matter your vision – be it annihilation or silence – the drone sounds of Ekca Liene’s Sion Suspension will give full effect. At least that’s what I have on repeat as Dee Sinclair contemplates finalities in Anori.